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Auricle Publishing Number 6 and 7 ©2001- Revised 2008 4 Crisis in the Industry Speakers Part 2 Introduction 8 These speakers sound better than conventional “let’s Time and Phase Audio Perfectionist Journals #6 and #7 have been put some drivers-in-a-box” designs yet they cost no Not Just a Craze combined for improved continuity. It took several more. These speakers can provide more long-term months to gather this data and write the more than satisfaction than exotic “like nothing you’ve ever 20,000 words contained herein. Rather than split this heard before” designs and often cost far less. 10 information into two consecutive Journals, I decided Dunlavy to present everything together in a double issue. Are these speakers perfect? Hardly. Don’t all speak- ers with accurate response sound the same? No, and We’ll continue the discussion of loudspeaker accu- it would certainly be a dull world if they did. 15 racy and I’ll restate some of my views on the impor- Dunlavy Graphs tance of accurately replicating the information on Each of the speaker brands represented here has a the recording. We’ll talk about what high quality sonic signature that is shared by all models in that loudspeakers should cost and about the cost-versus- manufacturer’s line, but the sonic characteristics of 19 performance crisis in the industry. A guest writer will each brand are slightly different. Thiel share some of his personal experiences with Journal readers. These speakers have the capability of accurately reproducing the input signal, as demonstrated by the 25 Previously, we examined some speaker systems objective measurements, but no model described Thiel Graphs which are demonstrably inaccurate and we discussed here is completely free of coloration or compromise. the reasons why many speakers fail to accurately reproduce the input signal. In this Journal we’ll We have discussed how speakers can go wrong but 29 examine some speaker systems which are demon- measurements can’t tell us everything about speaker Vandersteen strably accurate, according to all the accepted objec- sound. Objective measurements can only tell us tive standards. which products are capable of accurate response and which ones can’t possibly reproduce music correctly. 36 These speakers have flat frequency response within Vandersteen narrow limits so they don’t emphasize some frequen- Measurements can clearly Graphs cies while de-emphasizing others. These speakers are time- and phase-correct so they won’t reproduce show when the design some harmonic overtones out-of-phase with the fun- process has failed. 40 damental tones, smearing transient sounds over time. Journey to Measurements can clearly show when the design Enlightenment These speakers don’t sing along after the song has ended because they are carefully designed and con- process has failed by demonstrating that a given structed to minimize electrical and mechanical energy speaker has gross deviations from flat frequency storage and delayed reflections. response or is incoherent in the time domain. While 45 poor measurements can guarantee that a product will Conclusion www.audioperfectionist.com Introduction be unsatisfying in the long term, good measurements can only increased by making the colors in the photo a little more “color- guarantee the potential for good sound. ful.” Others consider the act of viewing a photograph to be an entirely different experience from the act of viewing a sunset. Our ears can still hear a lot more than our instruments can They feel that there should be no limitations at all on how far measure and, while much of speaker design is based in sci- the photo can deviate from a realistic presentation so long as ence, there is still some art involved. it produces the desired emotional response. Similar arguments occur in audio. Each of the three designers profiled in this issue has applied different engineering techniques while attempting to solve the Some feel that the job of an audio system is to accurately speaker design problems delineated in Journal #5. These reproduce the recorded information. Those of us who feel this problems cause speakers to deviate from accurate reproduction way think that the artists who make the recording should decide of the input signal. All speaker designers must confront these how that recording will sound, not the playback system. We same issues but some have been far more successful in over- assume that the artists and engineers who make the recording coming these challenges. In the articles that follow I’ll profile are attempting to bring the live performance into our homes so three of the designers who have been the most successful, in that we can experience at home what they experienced during my opinion, and describe their individual approaches to the sci- the actual event. ence and art of loudspeaker design. In this double issue we’ll discuss design philosophies and in the next Journal we’ll talk Some feel that the job more about the sound of these products. of an audio system is to Before we begin, let’s revisit the subject of accuracy and the philosophical arguments for its importance. While I believe that accurately reproduce accurate reproduction of the recorded signal is the ultimate goal of a high fidelity audio system, this is an arbitrary position that the recorded information. is not universally accepted. Those of us who accept this philosophy believe that the audio system should resolve as much information from the record- In The Beginning ing as possible and should not impose its characteristics on the sound we hear during playback. We think that recordings In the premier issue I made some statements about the philos- should be presented “as is” with no embellishment. There is ophy I would follow in writing the Audio Perfectionist Journal another point of view. and I presented an article titled Accuracy that included argu- ments supporting my position on that subject. Listening to music at home and attending a live performance are two very different experiences, in the opinion of some. This I believe that a high fidelity audio system should attempt to viewpoint holds that the two activities have little in common and reproduce the recorded signal as faithfully and accurately as should be considered separately. After all, the musicians aren’t possible. Others disagree—even though they might not admit really there in your living room helping to get the audience that fact aloud or in print. Many believe that the experience of involved in the music. listening is of primary importance, and how that experience is produced is of little significance. This, too, is a valid position. Some think that a home audio system needs to present sound Here is an analogy. that is a little more spectacular than what you’d hear at the live event in order to provide the listener with similar emotional Viewing a photograph of a beautiful sunset will seldom produce gratification. These folks feel that “goosing up” the response the emotional response of seeing the real thing. While many of a home audio system is a perfectly acceptable thing to do. photographers try to capture the actual scene as faithfully as The arrival of home theater has increased the numbers in this possible, others strive primarily to create an emotional effect on camp. the viewer. Some feel that the impact of the photograph can be 2 www.audioperfectionist.com Introduction Movie sound doesn’t even try to mimic real sound. Everything Journal #5 presented measurement graphs of speakers which is exaggerated for effect. That’s why most movie sounds are are demonstrably inaccurate. This issue will present graphs called “effects.” Real people don’t make that much noise when from speakers which are demonstrably accurate. In Journal #8 they walk or when they eat. Romantic moments in real life are I’ll show how some measurements can actually be misleading seldom accompanied by theme music. Real fists seldom make and we’ll discuss the subjective aspects of speaker sound. that much noise when they strike real flesh. There is no “real” standard for sound effects, which were artificially created to There is probably not a more controversial subject than the start with. THX has added to the confusion about the goal of a argument about whether the time and phase characteristics of home audio system. Should the system accurately reproduce a loudspeaker are audible. Many “authorities” with PhDs after the recorded sound track or should the system alter the record- their names claim to have proven that average listeners cannot ed information in an attempt to make the living room sound like hear the effects of phase shift in loudspeakers. While there is a movie theater? no doubt in my mind that these characteristics are audible and important this is still the subject of intense debate. Journal #5 presented some of my views on the subject. Journals #6/7 & Some think that a home audio #8 will present some more. I advise you to read all you can about the subject and then go and listen to make your own system needs to present sound determination. that is a little more spectacular In This Issue than what you’d hear at the live The article titled Crisis in the Industry introduces this issue and states some of my motives for writing it and launching the event... Audio Perfectionist Journal in the first place. Many so-called “high-end” speakers cost too much and perform poorly. This I have found that honesty is the best policy, in audio as in life. article presents some of the reasons for this situation. I think that an audio system should accurately reproduce the recorded information, whatever that may be.

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